The McGill Tribune T curiosity delivers
TUEsday, October 6, 2015
Editorial: Reimagining SSMU to ensure future sustainability
Volume No. 35 Issue No. 05
pg. 5
feature: Evolving the mental health e-world By Laura Hanrahan pg. 8 - 9
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FLASHBACK L’amour l’Aprés Midi (1972) Nico Wada Contributor
ssmu, ckut host federal election candidates debate PG. 2 Local federal election candidates debate in the SSMU Ballroom. (L-A Benoit / McGill Tribune)
SSMU to close club offices this month in space reallocation Fourth floor to include bookable spaces, more storage for clubs Aislinn Kalob News Editor Club offices on the fourth floor of the Students’ Society of McGill University (SSMU) Building will be vacated this month, with the space being redesigned into bookable rooms and storage space for clubs. The plan includes two board rooms
and one multi-purpose space, as well as desk space to be used for club office hours. The fourth floor will see an increase in generalized storage space, which Kimber Bialiak, vice-president (VP) Clubs and Services hopes will accommodate more clubs and their storage needs. “Last year, there were 35 groups that had club office
T he V i ew p o i nt
space, and one of my issues with club offices is that we have over 230 groups,” Bialik said. “We’re only able to offer space to about 30 of them every year, and it really depends on who’s able to get their application in the fastest, it’s kind of an arbitrary process.” Bialik explained that the reason for the redistribution of space was to make the space al-
location process for clubs more equitable. “The fourth floor is supposed to be a community space for student groups,” Bialik said. “It’s really great for the 30 or so who get space every year, and then the other 200 get nothing.”
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Love in the Afternoon ( L’Amour L’Après Midi ) (1972) is the last of French New Wave director Eric Rohmer’s series of comedies known as the “Six Moral Tales.” Though Rohmer was initially overshadowed by big names in the French New Wave such as Chabrol, Godard, and Truffaut, he developed a name for himself with his distinctly realistic style. Rohmer praised cinema as a privileged art form, saying in an interview that films “most faithfully transcribe the beauty of the real world.” Rohmer’s keen cinematic eye brings a clear interpretation of reality to the screen, which serves as a refreshing juxtaposition to today’s highly stylized Hollywood films. The colourful characters in Love in the Afternoon give the film its unique charm. Rohmer’s style is to take archetypal figures—in this case the discontented married man, the bored housewife, and the seductive temptress—and transform them into complex individuals with blood pumping through their veins.
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r e s t a u r a nt o . n o i r Dining in the dark is most enlightening
Ariella garmaise Contributor Tucked away near the corner of Boulevard Saint-Laurent and Rue Prince Arthur Est, amid a row of trendy looking restaurants and shops, at first glance O.Noir appears ordinary. Charming wood-topped tables and minimalist place settings mark a quaint front patio, and a warm soft
glow frames the pathway for the hostess to seat her tables; however, it is at this point that O.Noir diverts from the norm—the lobby is the only lit space in the entire restaurant. After selecting from a vague-sounding menu, customers are escorted to the pitch black dining hall where they can enjoy their meals without the hassle, or benefit, of sight. Total darkness is surprisingly terrifying, and the waiting staff is en-
dearingly sensitive to this, preparing their diners for the adventure with patience and ease. The restaurant offers simple salmon and scallop meals for traditionalists, and mystery courses for the spontaneous; regardless, the suspense of eating before seeing is thrilling. As customers order, tension bubbles, rising to a boil with the return of a menu. The hostess introduces the dinner party to their waiter for the evening with
intense intimacy, for this person will be more than a server, but also a tour guide, a point of reference. “Our clients bond with our waiters because in the dark they depend on them,” explained manager Alejandro Martinez. “The connection is stronger than any other restaurant.” The waiting staff is friendly and sweet; our server Sophie anticipated our excitement and made eye contact with each and everyone of us—it
took a couple seconds to remember that Sophie, like all of O.Noir’s servers, is blind. This reminder creates a moment of tension. Sophie, however, was very comfortable with leading through unexplored terrain; it became clear that O.Noir is not about managing with limited senses, but about playing with the heightened ones that compensate for the loss of sight.
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